of rat combating are as yet untasted by him, or he may be the _dilettante_ he seems. This picture was, like many more by Landseer, engraved by his brother Thomas; it was published in 1823. In the same year 1821, which produced the “Ratcatchers” for the Royal Academy, the British Institution was enriched with a picture that was engraved for “The Sporting Magazine,” or “Annals of Sporting,” and styled “Pointers To-ho!” The background shows a long level landscape, which is evidently a piece of nature; two pointers stand in the front, at the “foot” of the picture; behind them is a man with a gun: it is a thoroughly “sporting picture,” and as true to life as it is possible to be. A pen and ink sketch for “To-ho!” was sold at the artist’s sale, May 11, 1874, for twenty guineas. Of Landseer’s paintings of this year at the British Institution, Wilkie wrote to Sir George Beaumont, who was interested as the purchaser of a former picture: “Ward, Etty, Stark, Crome, and Landseer are successful, but in no great work.” The year 1822 was to be marked with a white stone in the annals of a young artist like Edwin Landseer, because he then received the premium of one hundred and fifty pounds from the Directors of the British Institution for “The Larder invaded,” which was contributed to this exhibition of that date. In the same year Mr. George Jones, R.A., late Keeper of the Royal Academy, obtained two hundred pounds in acknowledgment of the merit of his “Battle of Waterloo.” In 1821, John Martin received two hundred pounds on account of his “Belshazzar’s Feast.” As to Martin, there is a story, originally told by himself, to the effect that he contributed a picture to the Royal Academy in 1812, and before sending it, and while washing his brushes in an adjoining room, had the pleasure of hearing the framemaker’s men dispute as to which was the top and which the bottom of the painting. This work is one of Martin’s finer productions, the poetical “Sadak in search of the Waters of Oblivion.” In 1822, our painter likewise contributed “The watchful Sentinel” to the British Institution. This picture is in the possession of Mr. Chapman, of Manchester, and represents a large black dog watching packages by a road side; a post-chaise is in the distance.